{"id":6963,"date":"2018-04-17T06:42:41","date_gmt":"2018-04-17T12:42:41","guid":{"rendered":"http:\/\/www.podles.org\/dialogue\/?p=6963"},"modified":"2018-04-19T06:42:34","modified_gmt":"2018-04-19T12:42:34","slug":"mount-calvary-music-april-22-2018","status":"publish","type":"post","link":"https:\/\/www.podles.org\/dialogue\/mount-calvary-music-april-22-2018-6963.htm","title":{"rendered":"Mount Calvary Music April 22, 2018"},"content":{"rendered":"

\"\"<\/a><\/p>\n

The Good Shepherd<\/em>, Louis Cranach the Younger<\/span><\/p>\n

Mount Calvary Church<\/strong><\/span><\/p>\n

Eutaw Street and Madison Acenue<\/p>\n

Baltimore, Maryland<\/p>\n

A Roman Catholic Parish of<\/p>\n

The Personal\u00a0Ordinariate\u00a0of the Chair of St. Peter<\/p>\n

Anglican Use<\/em><\/p>\n

Rev. Albert Scharbach, Pastor<\/p>\n

Easter IV<\/b><\/p>\n

April 22, 2018<\/p>\n

_______________<\/p>\n

Prelude<\/strong><\/p>\n

Erschienen ist der herrliche Tag<\/em>, J. S. Bach<\/p>\n

Hymns<\/strong><\/p>\n

The King of love my shepherd is<\/em> (ST COLUMBA)<\/p>\n

Be joyful, Mary, heavenly Queen\u00a0<\/em>(REGINA COELI)<\/p>\n

I know that my Redeemer lives<\/em> (DUKE ST)<\/p>\n

Anthems<\/strong><\/p>\n

My shepherd will supply my need<\/em>, arr. Mack Wilberg<\/p>\n

Ego sum pastor bonus<\/em>,\u00a0Giovanni Bonaventura Matucci (1712-1777)<\/span><\/p>\n

Common<\/strong><\/p>\n

Missa S. Maria Magdelena<\/em>, Healey Willan<\/p>\n

Postlude<\/strong><\/p>\n

Christ ist erstanden<\/em>, J. S. Bach<\/p>\n

________________________________<\/p>\n

Hymns<\/strong><\/span><\/p>\n

The King of love my shepherd is<\/em> (ST COLUMBA)<\/span><\/p>\n

Henry Williams Baker (1821-1877) recast George Herbert\u2019s metrical paraphrase of Psalm 23 into this hymn,\u00a0The King of love my shepherd is<\/em><\/strong>. \u00a0Baker gives Psalm 23 an explicit Christological and sacramental cast. \u201cThe streams of living water\u201d flow from Jesus\u2019 pierced side. He ransoms our soul from the captivity of sin, and feeds with food celestial, \u201cthe bread which cometh down from heaven, that a man may eat thereof, and not die\u201d On our own we never keep to the righteous paths. That is why Jesus comes in love to us, sinners as we are. In his persistent and tender mercy Jesus seeks us, when, \u201cperverse and foolish,\u201d we stray from Him. The wood of the shepherd\u2019s staff is the wood of the cross that guides the strayed soul. Delights flow from Jesus\u2019 pure chalice. The \u201cwine that gladdens the heart\u201d is the Eucharist, the blood of Christ; His is the chalice that overbrims with love. In the Old Testament, our ancestors in faith longed to dwell in the \u201chouse of the Lord,\u201d before the revelation of eternal life was clear. But now Christ fulfills that mysterious longing. He is the Good Shepherd, who \u201cgiveth his life for the sheep,\u201d the ultimate gift,\u00a0eternal life with Him. (Thanks to Tony Esolen)<\/p>\n

Here is a Reformed analysis of the hymn:<\/p>\n

\u201cWe note immediately that the usual way of naming God (\u201cthe Lord\u201d) has been replaced with a nonbiblical yet immediately comprehensible allegorical title, \u201cthe King of Love.\u201d \u00a0This unfamiliar opening and the inversion in the first line (\u201cmy shepherd is\u201d) prepare the singer for a text that is intentionally\u2014even self-consciously\u2014allusive and aesthetic. This perception of the text is reinforced by the archaic verb forms (\u201cleadeth,\u201d \u201cfeedeth\u201d) and the Latinate diction (\u201cverdant,\u201d \u201ccelestial\u201d) in the second stanza. The third stanza intensifies the Christological overtones of this paraphrase with allusions not only to the Good Shepherd passage noted earlier but also to Jesus\u2019 parable of the Lost Sheep (Luke 15:4-7; cf. Matthew 18:12-14). The fourth stanza follows the biblical shift from third person to second person, but adds to the images of the shepherd\u2019s rod and staff the suggestion of a processional cross familiar to many nineteen-century Anglican congregations. There is a similar churchy slant in the fifth stanza, where the psalter\u2019s \u201coil\u201d takes on sacramental tones by being called \u201cunction,\u201d and the usual English translation \u201ccup\u201d becomes a comparably Latinate and ecclesiastical \u201cchalice.\u201d As a result, the reference to God\u2019s \u201chouse\u201d in the final line of the sixth stanza does not suggest the Temple in Jerusalem so much as it does the church building in which the hymn is being sung.\u201d (ReformedWorship.org)<\/p>\n

I doubt that in the last line \u201cThy house\u201d is simply the church building; heaven is clearly meant and specified by the \u201cforever.\u201d Anglocatholic services are long, but not that long.<\/p>\n

1 The King of love my shepherd is,
\nwhose goodness faileth never.
\nI nothing lack if I am his,
\nand he is mine forever.<\/p>\n

2 Where streams of living water flow,
\nmy ransomed soul he leadeth;
\nand where the verdant pastures grow,
\nwith food celestial feedeth.<\/p>\n

3 Perverse and foolish, oft I strayed,
\nbut yet in love he sought me;
\nand on his shoulder gently laid,
\nand home, rejoicing, brought me.<\/p>\n

4 In death\u2019s dark vale I fear no ill,
\nwith thee, dear Lord, beside me;
\nthy rod and staff my comfort still,
\nthy cross before to guide me.<\/p>\n

5 Thou spreadst a table in my sight;
\nthy unction grace bestoweth;
\nand oh, what transport of delight
\nfrom thy pure chalice floweth!<\/p>\n

6 And so through all the length of days,
\nthy goodness faileth never;
\nGood Shepherd, may I sing thy praise
\nwithin thy house forever.<\/p>\n

Here is the\u00a0Cardiff Festival Choir\u00a0<\/a>singing the hymn. Here is John Rutter\u2019s\u00a0lovely arrangement\u00a0<\/a>with harp accompaniment.<\/p>\n

\"\"<\/a><\/p>\n

Henry Williams Baker<\/em><\/span><\/p>\n

Sir\u00a0Henry Williams<\/strong>\u00a0Baker<\/strong>\u00a0was the eldest son of Admiral Sir Henry Loraine Baker. Henry was born in London, May 27, 1821, and educated at Trinity College, Cambridge, where he graduated, B.A. 1844, M.A. 1847. Taking Holy Orders in 1844, he became, in 1851, Vicar of Monkland, Herefordshire. This benefice he held to his death, on Monday, Feb. 12, 1877. He succeeded to the Baronetcy in 1851. His hymns, including metrical litanies and translations, number in the revised edition\u00a0of Hymns Ancient & Modern<\/em>, 33 in all. The last audible words which lingered on his dying lips were the third stanza of his rendering of the 23rd Psalm, \u201cThe King of Love, my Shepherd is:\u201d\u2014<\/p>\n

Perverse and foolish, oft I strayed,
\nbut yet in love he sought me;
\nand on his shoulder gently laid,
\nand home, rejoicing, brought me.<\/p>\n

This tender sadness, brightened by a soft calm peace, was an epitome of his poetical life.<\/p>\n

The tune is St. Columba. Because the compilers of the 1906 English Hymnal were denied permission to use Dykes\u2019s original tune (see sidebar, below), musical editor Ralph Vaughan Williams (1872-1958) turned to a folk tune that his former teacher Charles Villiers Stanford (1852-1924) had recently edited for a collection of Irish music (A Complete Collection of Irish Music as noted by George Petri<\/em>\u00a0(London, 1902-1905); ST. COLUMBA is no. 1043). The two most notable improvements Vaughan Williams made in the hymn tune known as ST. COLUMBA were the lengthening of the second and fourth lines to extend the Common Meter tune to 8787 in order to accommodate Baker\u2019s text\u2014this being their first appearance together\u2014and the use of a triplet (rather than an eighth and two sixteenths) in the sixth measure. (ReformedWorship.org).<\/p>\n

____________________________<\/p>\n

Be joyful, Mary, heavenly Queen<\/em><\/span><\/p>\n

Be joyful Mary, heavenly Queen<\/strong><\/em>\u00a0is a translation of\u00a0Regina coeli, iubila<\/em>, an anonymous 17th<\/sup>\u00a0century hymn. The tune was written by Johann Leisentritt (1527-1586), and published in his\u00a0Catholicum Hymnologium Germanicum\u00a0<\/em>in 1584. Here is\u00a0Notre Dame<\/a>.<\/p>\n

\"\"<\/a><\/p>\n

The words in the 1901 translation (Psallite: English Catholic Hymns) closely follow the\u00a0Regina coeli<\/em>. The words have been modernized in out version. I am searching for the original translation.<\/p>\n

1 Be joyful, Mary, heav\u2019nly Queen,
\nGaude, Maria!
\nYour grief is changed to joy serene,
\nAlleluia! Laetare, O Maria!<\/p>\n

2 The Son you bore by heaven\u2019s grace,
\nGaude, Maria!
\nDid by his death our guilt erase,
\nAlleluia! Laetare, O Maria!
\n3 The Lord has risen from the dead,
\nbe joyful, Mary!Gaude, Maria!
\nHe rose in glory as he said,
\nAlleluia! Laetare, O Maria!<\/p>\n

4 Then pray to God, O Virgin fair,
\nbe joyful, Mary!Gaude, Maria!
\nThat he our souls to heaven bear,
\nAlleluia!\u00a0Laetare, O Maria!<\/p><\/blockquote>\n

Here is the\u00a0Notre Dame choir<\/a>\u00a0singing it as a recessional.<\/p>\n

The Latin original is somewhat different:<\/p>\n

Regina coeli jubila,\u00a0Gaude Maria<\/i>.
\nJam pulsa cedunt nubila.
\nAlleluia. Laetare o Maria.<\/i><\/p>\n

2. Quem digna terris gignere,\u00a0Gaude Maria<\/i>.
\nVivis resurgit funere.
\nAlleluia. Laetare o Maria.<\/i><\/p>\n

3. Sunt fracta mortis spicula,\u00a0Gaude Maria<\/i>.
\nJesu jacet mors subdita.
\nAlleluia. Laetare o Maria.<\/i><\/p>\n

4. Acerbitas solatium,\u00a0Gaude Maria<\/i>.
\nLuctus redonat gaudium.
\nAlleluia. Laetare o Maria.<\/i><\/p>\n

5. Turbata sputis lumina,\u00a0Gaude Maria<\/i>.
\nPhoebea vincunt fulgura,
\nAlleluia. Laetare o Maria.<\/i><\/p>\n

6. Manum pedumque vulnera,\u00a0Gaude Maria<\/i>.
\nSunt gratiarum flumina,
\nAlleluia. Laetare o Maria.<\/i><\/p>\n

7. Transversa ligni robora,\u00a0Gaude Maria<\/i>.
\nSunt sceptra regni fulgida.
\nAlleluia. Laetare o Maria.<\/i><\/p>\n

8. Lucet arundo purpura,\u00a0Gaude Maria<\/i>.
\nUt fulva terrae viscera,
\nAlleluia. Laetare o Maria.<\/i>.<\/p>\n

9. Catena, clavi, lancea,\u00a0Gaude Maria<\/i>.
\nTriumphi sunt insignia,
\nAlleluia. Laetare o Maria.<\/i>.<\/p>\n

10. Ergo, Maria, plaudito,\u00a0Gaude Maria<\/i>.
\nClientibus succurrito,
\nAlleluia. Laetare o Maria.<\/i><\/p><\/blockquote>\n

Here is\u00a0Praetorius\u2019s<\/a>\u00a0setting.<\/p>\n

______________________________<\/p>\n

I know that my Redeemer lives<\/em> (DUKE ST)<\/span><\/p>\n

\u00a0I know that my redeemer lives<\/em><\/strong>\u00a0is by the English Baptist Samuel Medley (1738-1799). The hymn uses a simple repetition of \u201cHe lives\u201d to celebrate the resurrected Jesus who rules our lives and gives us eternal life. Christ is risen! Truly He is risen!<\/p>\n

This is the earliest version I could find (1816):<\/p>\n

1 I know that my Redeemer lives,
\nWhat comfort this sweet sentence gives!
\nHe lives, he lives, who once was dead,
\nHe lives, my everlasting Head.<\/p>\n

2 He lives, triumphant from the grace,
\nHe lives, eternally to save;
\nHe lives, all-glorious in the sky,
\nHe lives, exulted there on high.<\/p>\n

3 He lives to bless me with his love,
\nHe lives to plead for me above,
\nHe lives my hungry soul to feed,
\nHe lives to help in time of need.<\/p>\n

4 He lives and grants me rich supply,
\nHe lives to guide me with his eye,
\nHe lives to comfort me when faint,
\nHe lives to hear my soul\u2019s complaint.<\/p>\n

5 He lives to crush the pow\u2019rs of hell,
\nHe lives that he may in me dwell,
\nHe lives to heal and make me whole
\nHe lives to guard my feeble soul.<\/p>\n

6 He lives to silence all my fears;
\nHe lives to stop and wipe my tears,
\nHe lives to calm my troubled heart,
\nhe lives all blessings to impart.<\/p>\n

7 He lives my kind, my heavenly friend,
\nHe lives and loves me to the end;
\nHe lives, and while he lives I\u2019ll sing,
\nHe lives my Prophet, Priest and King.<\/p>\n

8 He lives and grants me daily breath,
\nHe lives, and I shall conquer death,
\nHe lives my mansion to prepare,
\nHe lives to bring me safely there.<\/p>\n

9 He lives all glory to his name,
\nHe lives, my Jesus still the same;
\nO the sweet joy this sentence gives,
\nI know that my Redeemer lives.<\/p><\/blockquote>\n

\"\"<\/a><\/p>\n

Samuel Medley<\/em><\/span><\/p>\n

Samuel Medley<\/strong>\u00a0came from a devout family but led a dissolute life as a youth and joined the Royal Navy. In 1759 Medley\u2019s ship engaged in a naval battle with a French ship, during which Medley\u2019s leg was severely injured. After the battle, Medley\u2019s leg continued to grow worse, even to the point of having to amputate the leg to save Medley\u2019s life. One evening, the physician aboard the ship told Medley that if his leg did not improve by morning, they would have to amputate or he could face death. During the night, Medley remembered what his grandfather had taught him when he was younger, and he began to pray vigorously that his leg might be spared. The next morning, to the surprise of all on the ship, the physician examined the leg and determined that it had healed so well that amputation was no longer needed. Immediately afterwards, Medley returned to his room, found the bible his grandfather had given him, and began reading. When Medley\u2019s ship returned to England, he was sent to his grandfather\u2019s house to recover. There Medley\u2019s grandfather read a sermon written by Isaac Watts, which moved Medley greatly; he immediately converted and became a Christian. After his conversion, Medley began attending the Baptist Church in Eagle Street, London,\u00a0then under the care of Dr. Gifford, and shortly afterwards opened a school, which for several years he conducted with great success. Having begun to preach, he received, in 1767, a call to become pastor of the Baptist church at Watford. Thence, in 1772, he removed to Byrom Street, Liverpool, where he gathered a large congregation, and for 27 years was remarkably popular and useful. After a long and painful illness he died July 17, 1799.<\/p>\n

First published anonymously in Henry Boyd\u2019s\u00a0Select Collection of Psalm and Hymn Tunes<\/cite>\u00a0(1793),\u00a0DUKE STREET<\/strong>\u00a0was credited to John Hatton (b. Warrington, England, c. 1710; d, St. Helen\u2019s, Lancaster, England, 1793) in William Dixon\u2019s\u00a0Euphonia<\/cite>\u00a0(1805). Virtually nothing is known about Hatton, its composer, other than that he lived on Duke Street in St. Helen\u2019s and that his funeral was conducted at the Presbyterian chapel there.<\/p>\n

Here is\u00a0King of Glory Lutheran Church<\/a>\u00a0singing it.<\/p>\n

DUKE STREET was also used in Charles Ives\u2019\u00a0Thanksgiving and Forefathers\u2019 Day\u00a0<\/em><\/a>(around 4:00)<\/p>\n

______________________________________<\/p>\n

Anthems<\/strong><\/span><\/p>\n

My shepherd will supply my need<\/em>, arr. Mack Wilberg<\/span><\/p>\n

1. My Shepherd will supply my need; Jehovah is His Name; In pastures fresh He makes me feed Beside the living stream. He brings my wand\u2019ring spirit back When I forsake His ways, And leads me, for His mercy\u2019s sake, In paths of truth and grace. 2. When I walk through the shades of death, Thy presence is my stay; A word of Thy supporting breath Drives all my fears away. Thy hand, in sight of all my foes, Doth still my table spread; My cup with blessings overflows; Thine oil anoints my head. 3. The sure provisions of my God Attend me all my days; O may Thy house be mine abode, And all my work be praise! There would I find a settled rest (While others go and come), No more a stranger or a guest, But like a child at home.<\/em><\/p>\n

Here is the Baylor A Capella Choir<\/a>. Here is the Mormon Tabernacle Choir\u00a0<\/a>(a delicate rendition).<\/p>\n

Isaac Watts (1674-1748) is rightfully considered the father of English hymnody. Psalm 23 is the best known and best loved of all the psalms. And RESIGNATION, a nineteenth-century tune from southern Appalachia, is one of the most hauntingly beautiful melodies ever composed. All three\u2014poet, psalm, and music\u2014unite in this hymn to give us a new vision of the providence of God.<\/p>\n

Isaac Watts, the English Congregational minister, theologian, and writer, was a prolific hymnodist who penned about six hundred sacred songs, forever changing the course of English-language hymnody. Apparently he began writing hymns in his youth, when one day, returning home from church and complaining about the poor quality of the metrical psalms that had been sung at that morning’s worship, he was challenged by his father to “Try\u2026 to produce something better.” He did, and Watts’s hymns still appear in every hymnal.<\/p>\n

“My Shepherd Will Supply My Need” dates from Watts’s 1719 collection, Psalms of David<\/em>, and concludes with his remarkable interpretation of the psalm’s last verse: “No more a stranger or a guest, but like a child at home.”<\/p>\n

The tune RESIGNATION, by an unknown composer, first appeared in the 1835 hymnbook Southern Harmony, a collection of church music from the rural American south. The melody is disarmingly simple. Like much folk music, it is entirely pentatonic\u2014that is, it uses only a five-note scale analogous to the black keys on the piano. The formal pattern of the tune is AA-BA; the first, second, and final phrases are identical. And every phrase comes to rest on the tonic, or key-note.<\/p>\n

\"\"<\/a><\/p>\n

Mack Wilberg (born February 20, 1955 in Price, Utah) is a composer, arranger, conductor, choral clinician and the current music director of the Mormon Tabernacle Choir. He was the associate director of the choir and music director of the Temple Square Chorale for The Church of Jesus Christ of Latter-day Saints (LDS Church) from May 1999 until his appointment as director on March 28, 2008.<\/p>\n

Wilberg was raised in Castle Dale, Utah, and served an LDS mission in South Korea where he was part of New Horizons, a vocal group made up of LDS missionaries. Wilberg attended Brigham Young University (BYU) after finishing his missionary service, and earned a bachelor’s degree in music in 1979. He concentrated on piano and composition. He then earned a master’s degree and a PhD in music from the Thornton School of Music at the University of Southern California.<\/p>\n

He is a former professor of music at BYU, where he directed the Men’s Chorus and Concert Choir. At BYU he was a member of the American Piano Quartet which included Paul Pollei, himself, and different other pianists at different times (Massimiliano Frani, Robin Hancock, Del Parkinson, Ronald Staheli, and Douglas Humphreys).<\/p>\n

_________________________<\/p>\n

Ego sum pastor bonus<\/em>,\u00a0Giovanni Bonaventura Matucci (1712-1777)<\/span><\/p>\n

Ego sum pastor bonus qui animam meam pono pro ovibus meis.<\/em><\/p>\n

I am the good shepherd who offers my life for my sheep.<\/em><\/span><\/p>\n

Giovanni Bonaventura Matucci (1712-1777) was a\u00a0pupil of Francesco Feroci. He began assisting his teacher at the Florence Cathedral in 1744, and succeeded him after his death in 1757.<\/span><\/p>\n

\r\n\t<\/div>\r\n","protected":false},"excerpt":{"rendered":"

The Good Shepherd, Louis Cranach the Younger Mount Calvary Church Eutaw Street and Madison Acenue Baltimore, Maryland A Roman Catholic Parish of The Personal\u00a0Ordinariate\u00a0of the Chair of St. Peter Anglican Use Rev. Albert Scharbach, Pastor Easter IV April 22, 2018 _______________ Prelude Erschienen ist der herrliche Tag, J. S. Bach Hymns The King of love […]<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_mi_skip_tracking":false,"footnotes":""},"categories":[1229,1318,12],"tags":[],"class_list":["post-6963","post","type-post","status-publish","format-standard","hentry","category-hymns","category-mount-calvary-church","category-music","has-post-title","has-post-date","has-post-category","has-post-tag","has-post-comment","has-post-author"],"aioseo_notices":[],"_links":{"self":[{"href":"https:\/\/www.podles.org\/dialogue\/wp-json\/wp\/v2\/posts\/6963","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.podles.org\/dialogue\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.podles.org\/dialogue\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.podles.org\/dialogue\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/www.podles.org\/dialogue\/wp-json\/wp\/v2\/comments?post=6963"}],"version-history":[{"count":8,"href":"https:\/\/www.podles.org\/dialogue\/wp-json\/wp\/v2\/posts\/6963\/revisions"}],"predecessor-version":[{"id":6973,"href":"https:\/\/www.podles.org\/dialogue\/wp-json\/wp\/v2\/posts\/6963\/revisions\/6973"}],"wp:attachment":[{"href":"https:\/\/www.podles.org\/dialogue\/wp-json\/wp\/v2\/media?parent=6963"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.podles.org\/dialogue\/wp-json\/wp\/v2\/categories?post=6963"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.podles.org\/dialogue\/wp-json\/wp\/v2\/tags?post=6963"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}